Piano Sonata No. 14 (Mozart)

The Sonata No. 14 in C minor, K. 457 is a piano sonata by Wolfgang Amadeus Mozart. With the Fantasia in C minor, K. 475, it forms an extraordinary oeuvre for his two-volume work, which was published in 1785 by Artaria Publishing House. Their origin falls in different times: While the Sonata was composed in October 1784, the fantasy was only recently in May of next year. Dedicatee of both pieces is Therese von Trattner, a friend of his pupil.

The lofty language of sound, the design of the main and secondary theme and certain pianistic means they influenced Ludwig van Beethoven.

The composition comprises the three sets Allegro, Adagio and Allegro Molto.

Construction

The theme of the sonata is a four tier and contrast: It turns first of all with a majestic upward rising broken chord. This striking unison figure is complemented by a two-time, piano played sighing motif, whose tension-filled interval, as it were lamenting expanded in the repetition of the fifth to the sixth. It is repeated in the dominant G major and from bar 9 replaced by two downward falling chromatic figures on a bass tremolo, which follow sigh and nervous twitching, broken triad motifs. The first theme is heard again increased by an octave, followed by a short transition leads ( of the lively triplets and the subject be taken by the ascending octave figure in the bass) to the secondary theme in the relative major E flat major, which is accompanied by Alberti basses.

After a brief reconciliation figure of Mozart into a second clock 36 page issue ( still in Es -Dur) a, which is imitated by reaching over the right hand in the bass. As if this were not enough, another chromatically ascending octave motif joins added that collapses into itself, to be replaced by an up and abjagenden triplet.

The implementation is extraordinarily short. It begins with the repetition of the first theme in C major, which, as in the reconciliation, combined with the triplet motif of the right and in due course will be accompanied by triplets. The second issue is indicated only once in its original key. The musical flow is slowed down and dammed by inhibitory, motivic ideas.

In the recapitulation Mozart cited the first subject round robin and with dramatic narrowness and introduces a new motif in the seemingly remote key of D major, but as Neapolitans ( the Mollsubdominante F minor ) proves to be and after a cadence to the tonic key as a sign of sadness returns.

The coda closes after a concert cadence with another, flanked by broken octaves new idea and fades away pianissimo in very low register.

The slow movement is in the relative key of E flat major. It has the form of a rondo with three principal theme and coda and is - connected about its reminiscent of a prelude passage with broken chords before the last ritornello in bar 41 with the imagination.

The Finale ( Molto allegro ), a sonata rondo with many unexpected developments and clear contrasts, even within individual moldings, inflated the passionate mood of the first movement. The upward movement of his first theme, the C minor triad ( C Eb G) are reversed (G- It -C) and provided with an intensely syncopated lines is now.

Origin and background

After a trip to Paris six years passed in which Mozart dealt with other forms such as string quartets, operas, and especially piano concerts, which he presented as a virtuoso performer at social events or in academies, a time in which he wrote no piano sonatas. The C minor Sonata, next to the plant in A Minor, one of only two piano sonatas in this scale type - belongs to the group of the last five Viennese sonatas, which was completed with the Piano Sonata in D major KV 576.

Although sonata and fantasy, the autograph of which was rediscovered only in 1990, created at different times, they were published together and have the same dedicatee. The couple appears to be indissoluble, since Mozart expressly stipulated that nachkomponierte fantasy should be issued together with the Sonata. It remains a matter of speculation, on which ( biographical ) event of the composer's request is due.

Influence on Beethoven

The concept of Joseph Haydn Sonata is for the sonata of Beethoven 's oeuvre of deeper, more fundamental than the Mozart. This is particularly evident in the structure of sonata form. While Mozart in many of his sonatas the topics connects rather associative and a compelling structural relationship is not always evident, Haydn replaces the melodic ingenuity often clearly demarcated by two subjects whose affective tension of opposites is dissolved in the implementation.

Nevertheless just Mozart's C minor Sonata is a good example of connections on the thematic and sonic level as that of the piano writing. In its written in the same key Patthétique can hear the model well. Thus the troubled Oktavtremoli find in Beethoven from bar 11 (Allegro molto brio econ ) as an accompaniment of the first theme after the Grave- introduction.

The second movement, the Adagio in the relative key of E-flat major, finds himself in the Sonata by Beethoven took over the beginning clearly visible.